Visual & Performing Arts · 7th Grade · Media Mashup: Digital and Mixed Media · Weeks 28-36

Introduction to Animation: Principles of Motion

Students will explore basic animation principles like squash and stretch, anticipation, and timing to create simple animated sequences.

• Common Core State Standards
• NCAS: Creating MA.Cr1.1.7
• NCAS: Producing MA.Pr5.1.7

About This Topic

Animation is built on a set of principles that Disney animators Frank Thomas and Ollie Johnston codified as the twelve principles of animation. These principles, including squash and stretch, anticipation, timing and spacing, follow-through, and slow in and slow out, remain the foundation of character animation across every medium from hand-drawn film to 3D CGI. In US 7th grade, students typically focus on the most visually intuitive principles: squash and stretch, anticipation, and timing and spacing.

Squash and stretch gives animated objects the illusion of weight and flexibility: a ball that flattens when it hits the ground and elongates as it accelerates communicates physical mass in a way a rigid circle never can. Anticipation, the backward windup before a character throws a punch or jumps, signals to the audience what is about to happen and gives the action dramatic weight. Timing and spacing control perceived speed: drawings closer together in a sequence produce slow movement, drawings further apart produce fast movement.

Hands-on flipbook work is the most direct entry point into these principles because students feel the relationship between drawing-to-drawing distance and perceived speed immediately. Active peer analysis of test animations makes the principles visible in ways that watching finished film alone cannot achieve.

Key Questions

1. Explain how the principle of 'squash and stretch' enhances the illusion of weight and flexibility in animation.
2. Construct a short animated sequence demonstrating anticipation and follow-through.
3. Analyze how timing and spacing affect the perceived speed and impact of animated movements.

Learning Objectives

• Explain how the principle of 'squash and stretch' enhances the illusion of weight and flexibility in animation.
• Construct a short animated sequence demonstrating anticipation and follow-through.
• Analyze how timing and spacing affect the perceived speed and impact of animated movements.
• Compare the visual impact of animation using and not using squash and stretch.
• Design a simple animation sequence incorporating at least two core animation principles.

Before You Start

Introduction to Digital Art Tools

Why: Students need familiarity with drawing software or apps to create the digital frames for animation.

Basic Drawing Skills

Why: Students must be able to draw consistent shapes and characters to apply animation principles effectively.

Key Vocabulary

Squash and Stretch	An animation principle that gives a sense of weight, flexibility, and volume to objects. It involves deforming an object to emphasize its mass and movement.
Anticipation	A principle where a character or object prepares for an action, like winding up before a throw or bending knees before a jump. This signals the upcoming movement to the viewer.
Timing	The number of frames used for an action, which controls the perceived speed. Fewer frames mean faster movement, more frames mean slower movement.
Spacing	The distance between successive drawings or frames. Closer spacing creates slow, smooth motion, while wider spacing creates fast, abrupt motion.
Follow-through	A principle where parts of the body or attached objects continue to move after the main body has stopped, adding realism and fluidity to motion.

Watch Out for These Misconceptions

Common Misconception

Smooth animation means drawing equally spaced positions between the start and end of a movement.

What to Teach Instead

Equal spacing between frames produces robotic, mechanical movement. Natural motion follows a slow-in and slow-out curve, fast in the middle of an action and slower at the start and end. Students discover this immediately when they compare a first flipbook made with even spacing against a revised one with spacing clustered toward the start and end of the bounce.

Common Misconception

Animation is just drawing the same thing over and over with small changes.

What to Teach Instead

Each drawing is a deliberate performance decision: the animator chooses how a character's weight shifts, where their eyes go, and what their posture communicates before they even move. Watching only a character's key poses with the in-between motion removed shows students that individual drawings carry as much information as the movement between them.

Active Learning Ideas

Hands-On Workshop: Squash and Stretch Flipbook

Students create a simple flipbook showing a ball dropping and bouncing, applying squash (flatten the circle at the moment of impact) and stretch (elongate the circle as it moves through the air at peak speed). Pairs compare flipbooks and assess whether the squash-and-stretch reads convincingly at different bounce heights.

40 min·Pairs

Inquiry Circle: Timing Analysis

Show two versions of the same action animated at different timings: one at 6 frames and one at 24 frames over the same number of poses. In small groups, students describe the difference in what each action communicates (hurried vs. deliberate, light vs. heavy) and identify which timing choice would fit different storytelling contexts.

25 min·Small Groups

Think-Pair-Share: Anticipation Hunt

Show a 2-minute clip from an animated film and ask students to write down every moment they spot an anticipation pose: the backward windup before a jump, the raised eyebrow before a reaction. Students compare lists with a partner, then discuss what each action would feel like without the anticipation preceding it.

20 min·Pairs

Design Challenge: Animated Sequence

Using a digital tool (Canva, Flipaclip, or physical paper if devices are unavailable), students create a short 8 to 12 frame sequence demonstrating one animation principle of their choice. They label their frames with the principle at work and present their sequence to a small group, explaining specific timing and spacing decisions.

50 min·Individual

Real-World Connections

• Animators at Pixar Animation Studios use principles like squash and stretch to make characters like Woody and Buzz Lightyear feel believable and expressive in films such as Toy Story.
• Video game developers employ timing and spacing to create fluid character movements and impactful special effects in games like The Legend of Zelda: Tears of the Kingdom.
• Motion graphics designers utilize anticipation and follow-through to make logos and text animations more dynamic and engaging for commercials and online content.

Assessment Ideas

Peer Assessment

Students create a 5-frame flipbook demonstrating squash and stretch on a bouncing ball. Partners review the flipbooks and answer: Does the ball squash on impact? Does it stretch on the way up? Are the drawings spaced to show acceleration and deceleration?

Exit Ticket

Students are given a scenario: 'A character needs to quickly jump over a small obstacle.' Ask them to draw two simple sequences of 3 frames each. One sequence should demonstrate anticipation before the jump, and the other should show follow-through after landing. They should label which principle is demonstrated.

Quick Check

Present students with short animated clips (e.g., a ball dropping, a character waving). Ask them to identify which animation principles (squash/stretch, anticipation, timing, spacing, follow-through) are most evident and explain their reasoning in one sentence for each identified principle.

Frequently Asked Questions

Do students need tablets or animation software to learn animation principles?

No. Flipbooks made with index cards or sticky-note pads teach timing, spacing, and squash-and-stretch entirely through physical drawing. The physical medium has an advantage: students feel the bump of the book when a bounce is too abrupt, making timing errors tangible in a way software feedback cannot replicate. Start physical, then introduce digital tools once students have internalized the principles.

What is the difference between animating on ones and on twos?

Animating on ones means a unique drawing for every frame (24 drawings per second for 24fps film). Animating on twos means each drawing is held for two frames (12 drawings per second). Most traditional hand-drawn animation uses twos for efficiency. On ones produces extremely smooth motion; on twos has a snappier, more graphic quality that many animators prefer for expressive character work.

How long does it take students to make a simple animation?

A one-second loop of 12 to 24 drawings typically takes students 45 to 90 minutes at the sketch stage. This is worth communicating upfront because students often underestimate the time investment and rush the work. Starting with a 3 to 5 second sequence is more achievable in a single class period and produces more thoughtful results.

How does active learning support animation instruction?

Animation principles become intuitive only through doing and comparing, not through reading definitions. When pairs compare their squash-and-stretch flipbooks and one reads as more convincing than the other, the discussion that follows teaches the principle more durably than any explanation: why does that one feel heavier? What did you do differently at the impact frame? Structured peer analysis is one of the most effective teaching moves in this unit.